Joseph Haydn – Duet in G major
William de Fesch – 3 Sonaten für 2 Violoncelli
Sonata Op. 8, No. 10
Sonata Op.8, No. 11
II. Alla breve
Joseph Bodin de Boismortier
Allemande – Doucement
Allemande – Rondeau – Lentement – Gigue
Moderement – Courante – Sarabande
Auguste Franchomme – 3Nocturnes, Op. 15
Bernhard Romberg – Duo No.1 in G major, Op.9
I. Allegro, poco moderato
Benedikt Hellsberg, violoncello
Ana Šincek, violoncello
Church of the Assumption of the Blessed Virgin Mary
Obala kralja Tomislava 27, Sutivan
Joseph Bodin de Boismortier (1689–1755)
was a French composer well-regarded during the Rococo era of Louis XV. Joseph received his musical education in Metz from the esteemed composer Joseph Valette de Montigny. In 1724, Boismortier and his wife relocated to Paris, igniting his composition career and earning him popularity, especially with his vocal music. With a royal licence for engraving music, he published numerous works for sale to the public, accumulating considerable wealth without the support of patrons. Boismortier was an innovator, utilising the Italian concerto form in his six concertos for five flutes and crafting the first French solo concerto for cello, viola, or bassoon. Among his notable pieces are the six sonatas for flute and harpsichord and the Deuxieme Serenade.
Willem de Fesch (1687–1761)
was a virtuoso violinist and composer born into a family of musicians who settled in Amsterdam. Throughout his career, Willem performed as a concert violinist in Antwerp. Later, he became the kapellmeister at the Cathedral of Our Lady in Antwerp, succeeding Alphonse d'Eve in 1725. Willem de Fesch's early works include duets for two violins and various concertos and sonatas for small (string) ensembles, published between 1710 and 1725. During the years 1725–1731, he composed several Masses and instrumental sonatas, reflecting an expressive and simpler style akin to that of Italian composers like Corelli and Vivaldi. In 1732, Willem and his wife moved to London, where they both performed: he as a violinist and later (from 1746) as a concertmaster of Handel's orchestra, and she as a singer. During his time in London, de Fesch composed a variety of works, including his oratorio "Judith" (premiered in 1733), the pastoral serenade "Love and Friendship," the comic opera "The London Apprentice," several sonatas and concertos, and a collection of songs. Some of his English songs were featured in theatre productions, like Shakespeare's "The Tempest" in 1746, while the Italian songs drew inspiration from Paolo Rolli's "Di canzonette e di cantate libri due."
Auguste Joseph Franchomme (1808–1884)
was a highly regarded French cellist and composer. In 1828, he was appointed solo cellist at Sainte-Chapelle. Together with violinist Jean-Delphin Alard and pianist Charles Hallé, he formed the Alard Quartet. He was also among the founding members of the Société des Concerts du Conservatoire. Throughout his career,he fostered close friendships with acclaimed composers Felix Mendelssohn and Frédéric Chopin. His collaboration with Chopin resulted in the creation of the Grand Duo Concertant for piano and cello. Furthermore, Franchomme was the dedicatee of Chopin's Cello Sonata, Op. 65, and Charles-Valentin Alkan's Cello Sonata. Franchomme collaborated with Spanish cellist Victor Mirecki Larramat and Belgian cellist Adrien-François Servais, co- founding what is now known as the Spanish School of Cellists. Renowned for his elegant and expressive bowing technique, Franchomme contributed to refining the French school of cellists, founded by Jean-Pierre and Jean-Louis Duport. His contributions to music were so
exceptional that he received the esteemed French Légion d'honneur in 1884.
Joseph Haydn (1732–1809)
was one of the most influential composers of the 18th century. At a tender age, Haydn's talent for music became evident, leading him to the renowned St. Stephen's Cathedral in Vienna, where he honed his musical skills. However, it was his appointment as Vice-Kapellmeister for the Esterházy family in 1761 that marked a turning point in his career. For nearly three decades, Haydn served as the principal composer, conductor, and performer for the Esterházy court, creating an extensive and diverse body of work. Haydn's creative prowess and innovative spirit earned him the titles of "Father of the Symphony" and "Father of the String Quartet." He revolutionised these genres, crafting compelling musical narratives, playful minuets, and electrifying finales. One of Haydn's most intriguing symphonies, "Symphony No. 45," known as the "Farewell Symphony," leaves a lasting impression. Its unique finale has the musicians gradually leaving the stage,
expressing their longing to return home. This charming and emotive piece showcases
Haydn's ability to infuse emotion and storytelling into his compositions. Haydn's oratorios
"The Creation" and "The Seasons" are monumental works that depict the grandeur of
nature, capturing the beauty of God's creation in breathtaking musical tapestries. With
sublime choruses, soaring arias, and vivid orchestral textures, these masterpieces are a
testament to Haydn's profound musical vision. Beyond his creative genius, Haydn was a
visionary, pushing the boundaries of classical music and inspiring the next generation of
composers, including Mozart and Beethoven.
Bernhard Romberg (1767–1841)
was a German cellist and composer whose impact on cello technique and instrument design reverberates through the annals of classical music history. Romberg was born into a family of great significance in the world of music. His father, Bernhard Anton, and uncle, Gerhard Heinrich, were esteemed members of the court orchestra in Munster, renowned as the "Elder Romberg Brothers." This musical heritage provided a nurturing environment for Romberg's talents. By the age of seven, he was already captivating audiences, performing alongside his cousin as "The Younger Romberg Brothers." He became a distinguished member of the court orchestra in Bonn, where he met Ludwig van Beethoven. He will later visit Vienna, where he will perform Beethoven's cello
sonatas, Op. 5, alongside Beethoven himself. The French Revolution prompted Romberg to
seek refuge in Hamburg until 1793. During this period, he performed as part of F. L.
Schröder's Ackermannsches Komödienhaus. His passion for standardisation led him to
advocate for a simplified method of notating fingerings and encourage the use of fewer clefs, ensuring greater accessibility to cello music. In 1839, he left a legacy through his
groundbreaking work, "Méthode de Violoncelle." This influential book delved into the
technical intricacies of cello playing, providing detailed guides on modifying older cellos with longer necks and fingerboards, thus influencing cello design for generations. Romberg's virtuosity mirrored that of the illustrious Paganini, introducing new playing techniques and innovative approaches to the cello. His passion for standardisation also led him to advocate for a simplified method of notating fingerings and encourage the use of fewer clefs, ensuring greater accessibility to cello music.
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